there are different approaches to noise in
electronic music. technically, noise is described as an equal
amount of output in all present frequencies ('white noise') and
sounds pretty boring. people tend to mix their original signals
with fragments of noise to get a more individual, maybe more haptical sound; on the other hand, a lot of strictly experimental
music uses noise as the main source of audio, shifted in frequency
and amplitude, fed back to the machines or distorted and delayed.
why do you have to know about noise when you want know about
daniel maze? his
treehugger EP is full of noise! like a graphic designer
adding certain samples of pixelated dirt to his 'clean' graphics,
daniel uses different forms of unspecific audio to break the
unreflected beauty of his compositions.
april
and
pantomime
for example are tricky four-to-the-floor
house-tracks, with a beat that's playful and danceable, good
melodies and a lot of warmth. still they might sound a bit 'easy
listening' if the noises were missing. but they don't! jan
jelinek's farben-alter
ego might be a good reference. for
manhattan
and
playground minaturette, daniel
adds some more pop-appeal and gives his music a more indietronic-appeal
without loosing relevance. the title track and
ambulance chase
at position five and six get into pop-music
even deeper- pearling piano motives, smooth guitar pickings and
vocal-samples make daniel sound like
akufen,
70s electronic music and, ähem, art rock. you've got to listen to
believe.
after all,
daniel maze
is familiar with drone, harsh noise and
experimentalism, too. if you listen to his former and future
releases at italian netlabel
sinewaves, you'll find deleting
nearly all residues of pop in his music. both sides are important
and require themselves, as he says.
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